Graphic design is a profession whose business is the act of designing, coding, and create visual communication, usually produced by industrial means and to convey certain messages to certain social groups, with a clear goal. This is the activity that allows to graphically communicate ideas, facts and processed and synthesized social, cultural, economic, technological and aesthetic values in the form and communication. Also known as visual communication design, because some people only for the printing industry, and to understand the word shape, visual messages that are channeled through many media, not just print.
Given the massive and rapid growth in the exchange of information, the demand for graphic designers is greater than ever before, mainly because of the development of new technologies and the need to pay attention to the human factors that are beyond the competence of the engineers who they develop to pay.
Some classifications are widely used, Graphic Design: advertising, design, editorial design, corporate identity design, web design, packaging design, typographic design, signage design, multimedia design, among others.
Graphic Design History
The definition of the graphic design profession is not new in what. Upon their preparation, their activities and objectives Although there is no consensus on the exact date of birth of graphic design, some of the interwar period. Others understand that begins to identify as such in the late nineteenth century.
Well-specific Paleolithic cave paintings in the graphic communications purposes on its origin and the birth of written language in the third millennium BC. C. But the differences in the operation and training are required auxiliary sciences, so it is not possible to deal with Blue prehistoric man, or the lithographer in 1890 to identify the current graphic designer with woodcut fifteenth century.
The diversity of opinion reflects the fact that some as a product of design and all other graphics such that only Raha Graphical demonstration of a model as a result of the application of industrial production, visual manifestations Those who "projected" have needs considering different ways: the production symbolic contextual ergonomics etc.
background
A page from the Book of Kells: Folio 114, with bronze decorated dicit Illis contains text. An example of the art of the Middle Ages and page layout.
The Book of Kells - A Bible Handwritten Empire by Irish monks in the ninth century CE is shown very beautiful and early example of graphic design concept for some. It is a great graphic demonstration of artistic value, high quality, and even surpasses even for a model for learning in the quality, to make many of the current Editorial productions, and also from a functional point of view of contemporary graphic This piece responds presented needs to the team of people who all made, but others believe that it graphic design product, because they understand that design is not adjusted to the idea of their current graphic design project.
Transitive and also closely linked with the history of typography, the book is the history of graphic design, this may be because there is no graphics graphic designs that do not include such practical elements. Therefore, when it cited the history of graphic design, typography and the Trajan column, medieval miniatures, Johannes Gutenberg's printing press, the development of the book industry, the posters Parisian art movement and Crafts (arts and crafts), William Morris, Bauhaus etc. .. "
The introduction of movable type made by Johannes Gutenberg books cheaper to produce, and facilitate their dissemination. The first printed books (incunabula) scored the role model of the twentieth century. Graphic design from that time has established itself as Old Style (especially the fonts used these early typographers) or humanist known, due to the predominantly PHILOSOPHICAL time in school.
After Gutenberg, no significant changes until the end of the nineteenth century were seen, especially in the UK, there was an attempt to create a clear separation between the fine and applied art.
In the 19th century
First page of the book "The Nature of Gothic" by John Ruskin, the Kelmscott Press. Arts and Crafts to medieval art, inspired by nature and handcrafted to revive.
The artist or the publisher: While the visual message design nineteenth century was alternately two professionals entrusted. The first was as an artist and the second as craftsmen who formed often both in the same schools of arts and crafts. To use the printer as the art was printed ornaments in his compositions and choice fonts. The artist saw as a child and to give more attention ornamental typography and illustrative elements.
Between 1891 and 1896, the William Morris Kelmscott Press published some of the most important is a graphic arts and crafts (handicrafts), and established a lucrative business on the design of the books of great refinement and selling them to the upper class style as a luxury item. Morris proved that a market existed for works of graphic design, establishing the separation of design from production and the fine arts. The work of the Kelmscott Press is characterized by its recreation of historic styles, mainly medieval.
first Vanguards
The poster for the Moulin Rouge in Paris. Manufactured by Henri de Toulouse-Lautrec lithograph in color with 1891 Thanks Art Nouveau, graphic design and visual clarity obtained by the composition.
Isotype of the Bauhaus. Founded in 1919 by Walter Gropius, the birthplace of the graphic design profession is considered.
Matinee Poster for granted. Manufactured by Theo van Doesburg free font organization in January 1923 expresses the spirit of the Dada movement, irrationality and visual expressions for freedom and against the status quo of the time.
Corporate Identity Design for Lufthansa, the development of group 5 of the Ulm School of Design. Ulm School was a turning point in the history of design, as it outlines scientific methodology through the design profession.
Current pictograms design for the National Park Service of the United States. Simplify the symbols developed forms the idea in the 1950s.
The design of the early twentieth century, as well as the fine arts of the same period, was a reaction against the decadence of typography and design of the late nineteenth century.
The interest in valuation changes and typographical style of ornamentation and the spread a piece of design that is synonymous with good design, it was an idea that was maintained until the late nineteenth century. The Art Nouveau style, with its clear desire Stylistic was a movement that contributed to higher order visual composition. While maintaining a high level of formal complexity, this did in a strong visual consistency, discarding the variation in a graphic piece of typographic styles.
Art movements of the second decade of the twentieth century and the political turmoil that accompanies it, producing dramatic changes in graphic design. The Dada, De Stijl, Suprematism, Cubism, Constructivism, Futurism, the Bauhaus and a new vision, which influenced the visual arts and design all industries. For all these movements in the decorative arts and popular, as well as the Art Nouveau style, in contrast, the. Influenced by the geometry of the new interest in the Art Deco Evolved All these movements were a revisionist and transgressive spirit of the time in all the arts. This period, the artists and educators is increasingly expressed through publications and manifestos about their opinions.
During the composition of the most interesting aspects of graphic design developed 1930s. The graphic style change was significant because it shows a reaction against eclecticism and the time, and proposes a more stripped ornamentalist organicism and geometric. This style, combined with Constructivism, Suprematism, Neoplasticism, De Stijl and Bauhaus exerted a lasting influence and inevitable in the development of graphic design twentieth century. Another important element in relation to professional practice, was the increasing use as a form of visual communication element. This article appeared in the mostly manufactured by the Dada and De Stijl designs.
The symbol of modern typography is the sans serif or serif, inspired by the late nineteenth century industrial types. Highlights include Edward Johnston, author of the font for the London Underground, and Eric Gill.
Design schools
Jan Tschichold embodies the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy presented in this book, calling it fascist, but remained very influential. Herbert Bayer, the DIRIGO the typography and advertising workshop at the Bauhaus 1925-1928, created the conditions for a new profession: the graphic designer. He put the issue of "advertising" in the education program including, among others, the analysis of the psychology of advertising, media and advertising. Remarkably, the first to define the term designer and typographer William Addison Dwiggins Graphic Design was 1922.
So Tschichold, Herbert Bayer, László Moholy-Nagy and El Lissitzky became parents of graphic design as we know it today. They pioneered production techniques and styles that were later. Today computers dramatically changed production systems, but that the approach contributed more relevant than ever dynamic, experimental design, experimentation, and even very specific things like choosing fonts (Helvetica is a revival, originally a typography design on the base of the nineteenth century industry) and orthogonal compositions.
In the years following the modern style prevailed during stagnated. Well-known names in midcentury modern design are Adrian Frutiger, Univers and Frutiger fonts the designer, and Josef Müller-Brockmann, a large poster of the fifties and sixties.
The College of Design (HFG) in Ulm, was another key institution in the development of the graphic design profession. Since its inception, distanced himself from the HFG Affiliation with a possible advertising. At the beginning of the division called Visual design is concerned, but it quickly became clear that his current goal was, which was in the academic year 1956-1957, the name in the Department of Visual Communication altered solving design problems in the field of mass communication, modeled Department of visual Communication at the New Bauhaus in Chicago2 3 decided in the HFG Ulm, working primarily in the field of persuasive communication in areas such as traffic sign systems, plans for the technical equipment, or visual translation of scientific content. Until that time, these areas were not systematically taught school in any other European. In the early 70s, the members of the Federation of German Graphic Designer (German graphic designer) made several features on their professional identity, as in the case of Anton Stankowski among others. While the official definition of the profession in 1962 was directed almost exclusively to the ads, now expanded to include areas under the rubric of corporate communications include visual4 5 of produced by the development group HFG Ulm Those who created the company, as Brown pictures or Lufthansa were also critical to this new professional identity.
Gui Bonsiepe and Tomas Maldonado were two of the first people who tried to apply the design ideas from the semantics. In a seminar at the Ulm School of Design in 1956 submitted a proposal to modernize Maldonado rhetoric, classical art of persuasion. Maldonado Bonsiepe and then wrote several articles on semiotics and rhetoric for uppercase English magazine publication and that would be an important resource for designers Ulm to this area. Was to have featured Bonsiepe that it is necessary a modern system of rhetoric, semiotics as a tool to describe and analyze the updated phenomena of advertising. With this terminology, could the "Ubiquitous-structure" of a message publicitario5 Expose
Simplicity and good design feature is still the idea of this for many years, not only in design but also in other areas of the alphabet. The tendency to simplify all the means at the forefront of design in the 1950s coined. At that time, developed a consensus that simple, was not only the equivalent of good, but also more readable equivalent. One of the hardest hit areas was the creation of symbols. The designers raised the question of how they could be simplified without destroying their information function. However, only a more recent investigations have shown that the form of simplification readability symbol does not necessarily increase.
second Vanguards
Response to the growing graphic design was slow but relentless sobriety. The origins of the humanist movement of the fifties back to the post-modern writings. In this group, Hermann Zapf underlines designed the two fonts Palatino today anywhere (1948) and Best (1952). Blurring the line between serif and sans serif fonts and the reintroduction of organic lines in the texts served these designs to rebel against him more ratify the modern movement.
An important milestone was the publication of the Manifesto, first things first (1964), a call for a more radical form of graphic design, design in criticism of the idea of the series was worthless. He had a massive influence on a new generation of graphic designers, such as contribution to the development of emigrants magazine publications.
Another notable designer Milton Glaser is the end of the twentieth century, the distinctive designed I Love NY campaign (1973), and a famous Bob Dylan poster (1968). Glaser took elements of the popular culture of the sixties and seventies.
The progress was greatly inspired by the early twentieth century technological advances in photography and printing. In the last decade of the century, technology played a similar role, but this time it was computers. At first it was a step back. Zuzana Licko Begana compositions with computers, sometimes when computer memory was measured in kilobytes and typefaces were created by dots. She and her husband, Rudy VanderLans, founded the magazine and type foundry with the same name pioneer emigrant. They played with the extraordinary limitations of computers, releasing a great creative force. Was emigrants magazine, the bible of the digital design.
David Carson is the culmination of the movement against SOBRIETY reliability and modern design. Some of his designs for Raygun magazine are intentionally illegible, designed to more literary than visual experience.
Nowadays
Today, much of the work is supported by digital tools of graphic designers. Computer for graphic design has changed enormously. From 1984, with the publication of the first desktop publishing systems, PCs and replaced by all the technical procedures for digital systems to the analog in nature. Essential tools and computers have to be so, with the advent of hypertext and the Internet, its functions have expanded as a means of communication. In addition, the technology also has the rise of telecommuting and special pinned with crowdsourcing has begun to intervene in labor relations. This change has increased the need to reflect on time, motion and interactivity. Nevertheless, the professional practice of design changes has not significantly. While the forms of production have changed and communication channels have been expanded, allowing us, human communication, to understand the basic concepts remain the same.
Work performance and skills
The ability to design is not innate, but acquired through practice and reflection. Yet it is an option that may be one thing. To use this power to gain further training and practice, as it is very difficult to acquire through intuition. Creativity, innovation and lateral thinking skills are the key to a graphic designer job performance. Creativity in design is available in established frame of reference, but more than anything else, is a cultural ability to find solutions to seemingly intractable problems unexpected. This is reflected in the design at the highest level and quality of work. The creative act is the core of the design process manager, but is not itself an act of creativity in design. However, the creativity is not exclusive graphics performance and not a profession for the proper performance Although the design work is absolutely necessary.
The role of the graphic designer in the process of communication that the interpreter works encoder or in the interpretation, organization and presentation of visual messages. His sensitivity to the form must be parallel to its sensitivity to the content. This work deals with the planning and structuring of communication, with the production and evaluation. Is the design work always on the customer demand, the linguistic Finally, either orally or written demand. This means that the graphic design transforms a visual demonstration of a voice message.
Nonverbal messages with the professional graphic design rarely works. Sometimes the word appears short and other texts appear so complex. The editor is in many cases a substantial portion of the communication team.
The design activity often requires the participation of a team of professionals, such as photographers, illustrators, technical illustrators, including professionals with less visual message. The designer is often a coordinator of the production of various disciplines of the visual message Contribute. To coordinate the research, development and production, the use of information according to the requirements of different projects or specialists.
Graphic design is the designer of interdisciplinary and has knowledge of other activities, such as photography, freehand drawing, technical drawing, descriptive geometry, psychology of perception, Gestalt psychology, semiology, typography, technology and communication have therefore.
Professional Graphic Design is a visual communication specialist and his work is related to all stages of the communication process, in which context, creating a visual object of the action is only one aspect of this process. This process includes the following:
Define the problem.
Targeting.
Conception of communication strategies.
Display.
Production plan.
Production monitoring.
Evaluation.
This process requires the designer to have an intimate knowledge of the areas:
Visual Communication.
Communication.
Visual perception.
Management of financial and human resources.
Technology.
Media.
Valuation techniques.
Guiding principles of the four variables, the graphic design graphic design professional should have when considered before a project, these are:
The Individual: ethical and aesthetic unity conceived as part and to whom is what the company is integrated visual space uniformly, continuously and connected.
The advantage: because it reacts a need for information and communication is the.
The atmosphere: because it requires knowledge of physical reality, to contribute to the harmony of the habitat, and the reality of other contexts for understanding the structure and meaning of the human environment.
The economy: it covers all the aspects to be investigating the costs and the simplification of procedures and materials for carrying out the elements.
For Graphic Design
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